shayna swanson :: aerialist

References

"Hired Shayna, sight unseen, took a risk, and she delivered a world class performance - Hiring her again this summer. Top high end performer!" -- Nathalie Yves Gaulthier, Owner, LE STUDIO - TRAPEZE nathalie@lestudiola.com

"I just wanted to let you know how much we appreciated your taking part in our festival this year. We have been getting rave reviews, and your name keeps coming up with words like "phenomenal." I think what made your performance so riveting was that you were so close to the audience and to the ground. The 14 foot ceiling turned out to be a plus. Most of us have seen Cirque de Soleil events and while they are enjoyable, it is very different watching up close, almost within touching range. You really wowed our audience, and everyone is asking if we are doing this again next year." -- susie@rochestereroticartfest.org

"Thank you so much for coming to Baltimore for our shows. We could not have done it without your aerial work. Your expertise and grace were a real plus and I look forward to another gig with you soon! " -- Brian Mc Nelis, Cirque Voila

Reviews and Notices
Review in Time Out Chicago | Rolling Blackouts - Chicago Reader

Review in Time Out Chicago

Powerhouse Shayna Swanson has the biggest pecs and the smallest ass of any chick you'll ever meet. Her rock n'roll approach to the graceful circus arts is refreshing, and she's happy to school you in trapeze, rope, silks, lyra (the big hoop), stilt dancing and more in her new space. )

Chicago Reader -- CRITIC'S CHOICE -- Aloft Aerial Dance
Author: Laura Molzahn Date: September 23, 2005 Appeared in Section 2 Word count: 228

Somehow I had the impression that aerial dance was all about the feats. Boy, was I wrong. In an hour-long piece called Rolling Blackouts, choreographer-director Shayna Swanson takes a somewhat ragtag group of 12 performers and molds their vignettes on rings, trapezes, silks, and bungee cords into a meditation on the perils and pleasures of vulnerability. Using the conceit of a power outage, Swanson explores her own fears of losing her vision (she has severe astigmatism). When the lights go out, the action is lit by battery-powered flashlights and lanterns, often held by the performers, who in effect become the lighting technicians too. The resulting look of the piece is moody and eerie, a far cry from the bright lights and dazzling sequins of the circus. Swanson also makes imaginative use of the lofted space's rafters and ceiling windows, which allow the city's orange glow to penetrate the room. Thoughtfully, she's created duets that emphasize the performers' reliance on each other. But my favorites were the solos, particularly Swanson's own powerful flailing early on and another, more lyrical solo on a low-hanging ring that uses contact with the floor as a metaphor for reaching bottom. The storytelling is a little obscure at times, but overall this is a truly creative, heartfelt show. 9/23-9/25: Fri-Sun 8 PM. Circus Factory, 4430 N. Western, 773-507-2604. $15-$20.